All of these changes serve to make Civ V's late-game a much more enjoyable endeavor. The inevitability of victory is greatly lessened, and it's entirely possible to totally throw the established order of things into disarray if you happen to get some big tourism and/or culture boosts later on. For those reasons, Brave New World is easy to recommend to anyone who still has an active interest in the game.

While I can usually get behind forgiving some problems in the face of quality fan service, Deadpool's fan service is highly specific to those who want the character taken to the most hyperactive extremes imaginable. Maybe that particular subset of fans will be able to look past the game's issues more easily, but anyone else will likely find Deadpool intensely grating and largely frustrating in equal measure.

Combine those problems with the game's generally chuggy, unattractive visuals, generic-as-hell soundtrack, painfully obnoxious late-game difficulty spike, and breezily short campaign (I beat most of it in a single afternoon), and you've got yourself a game that really doesn't offer much to anyone, outside of the most dedicated fans of the Merc with the Mouth.

The Last of Us is not simply Uncharted with zombies, but it couldn't exist without Naughty Dog having made Uncharted first, either. It's a dark adventure, one rarely filled with laughs or joy. There are bitter pills to swallow along the way, and nothing is taken for granted, not even characters. People live, people die. Sometimes it's fair, sometimes it's not. It's still a zombie game, but a sobering one. Take a deep breath.

That art design, the game's intriguing story, and the terrific score by composer Olivier Deriviere are ultimately betrayed by Remember Me's slavish dedication to a game design that just doesn't quite work.

Remember Me is a better story than a game, a mixture of Philip K. Dick-style plotting and Luc Besson's sci-fi aesthetics grafted onto an initially nifty, but ultimately repetitive gameplay design.

Fuse's bland art design and overall lack of personality are disappointing in the context of that initial reveal trailer, but under the hood it's still a generally well made third-person shooter with a clear emphasis on co-op and the imaginative weapons Insomniac is so good at dreaming up. But there are too few of those weapons, and a few too many irksome issues, to lift Fuse significantly above the many, many other cover-based shooters it's competing with.

Did I mention it has the creepiest spiders since Deadly Creatures? By its very nature of being a sequel, Last Light doesn’t feel as fresh as Metro 2033 did, but there’s still nothing else like it.

Possibly the most surprising addition are the amount of stealth sequences.

By its very nature of being a sequel, Last Light doesn’t feel as fresh as Metro 2033 did, but there’s still nothing else like it. Few games generate immersion through gameplay and transport you to their world the way Metro does.

This '80s action movie twist on the Far Cry 3 mechanics has a killer aesthetic, but it flinches a little too often, resulting an a game that oscillates between dumb B-movie tropes and a self-awareness that prevents the look and tone from working as well as it should.

There are glitches and other unfortunate quirks to talk about, but those problems barely register over the din of utter mediocrity that pervades so much of Star Trek: The Video Game's campaign. Outside of a horrid, poorly-explained turret sequence in which you (barely) pilot the Enterprise in battle, there is scarcely an acknowledgment anywhere in this game that Star Trek fans might want to do something other than just run around and shoot aliens. Such a concept ultimately belies the very point of Star Trek in practically all of its many incarnations.

While I admittedly became less enamored with Monaco as it ramped up its difficulty and turned some of its later missions into tedious exercises in trial-and-error, the vast majority of Monaco's content is simply a delight to play, especially when enjoyed alongside a rogue's gallery of your most deviously skilled friends. It may not best serve the solitary brand of player, but for a cooperative group of would-be thieves, Monaco can be terrific fun.

If I'd come out of Dead Island with a burning desire for more Dead Island, Riptide would go down a lot easier, but since that original game started out strong and just got weaker as it wore on, playing through another 15 hours of almost exactly the same thing, when the first one already felt like more than enough, instead just becomes a tiresome exercise.

The fights are flashy and full of personality, making the action stand out, and producing a spectacle worth seeing.

I rolled my eyes more than a few times during the story mode, but the ridiculous super moves offset that stuff and make it a pretty good time.

It's short, sure, but it also doesn't wear out its welcome, focusing solely on the necessary pieces of an adventure that's often as challenging as it is thrilling. In Guacamelee!, DrinkBox has both provided a wonderfully crafted action game for old school and new players alike, and established itself as a developer very much worth paying attention to.

You'll see a lot of BioShock in Infinite, but even if you try to make direct comparisons between the two, it's clear that Infinite is a far better game than its predecessor. It moves at a better pace, with more meaningful and more playable big encounters than BioShock. But it still carries that sense of exploration and the feeling of dread that comes with knowing that everything is just continuing to unravel before your very eyes.

Dark Moon takes what was basically a really good sketch of a game in the original Luigi's Mansion, and fleshes it out into a more robust, and arguably far more entertaining romp, all while retaining the distinctive flavor of that first game.

As awful as Survival Instinct is mechanically, the really depressing thing about it is that it offers no meaningful information or commentary on the characters it revolves around. Yes, Daryl and Merle's lives are a bit more fleshed out, but nothing you learn is anything you couldn't have gone the rest of your life not knowing.

There's just enough exposition there to keep things moving and just enough of a gameplay tweak to make you wish they had made these changes two games ago. It's a fun but feature-light shooter for people who already enjoy the basic style of Gears of War. Nothing more, nothing less.

For those of us who still deeply love this specific style of real-time strategy and want more of it, this is a must-have add-on.

This is a game with startling clarity of vision, but that vision often feels narrow and intractable. It knows precisely what it wants to be, and in most key ways, executes on those ideas with precision. But in setting that course, it all but dismisses the way in which many played SimCity sequel after sequel. And while I expect many will fall head-over-heels in love with this SimCity's cooperative design, at its best, the game feels more like a really thoughtfully designed multiplayer mode for a larger, single-player capable game that, sadly, doesn't exist.

The Xbox 360 version is grungy, by comparison [to the PC], with lower texture quality and a lower framerate. That's unsurprising, but when taken against the other games on the platform, the 360 version still looks OK. It's certainly playable, anyway, though a weird audio bug made one of the early open-area segments practically unplayable, since it's hard to know when to take cover and hide from incoming rockets if the audio isn't playing back at all.

It's serviceable and, again, it looks great on the PC, but was this trip really necessary? It's an average experience, overall, and in a genre that continues to be packed full of competition, you'd probably be better off finding a discounted copy of Crysis 2, or, if the open-world combat of the original Crysis really floats your boat, spend some time with Far Cry 3, instead.

Tomb Raider might be guilty of trying to do too many things at once, but the relative quality of each one of those individual things is high enough that the whole is still pretty satisfying.

A thrilling and engaging experience. The swordplay is fun, and it's really fascinating to see the different spots where either Kojima's or Platinum's signature styles shine through. It also has a wild final confrontation that shows elements of both.

In short, it's a quick cut through the world of Metal Gear that mentions just enough about the Patriots and the War Economy to let you feel like you're keeping up on the state of post-MGS4 Metal Gear while also filling it full of ridiculous, entertaining combat sequences and, for whatever reason, a whole lot of cursing.